No matter a designer’s process, the line from idea to runway is rarely straight. In the case of Shane Gabier and Christopher Peters, it’s downright labyrinthine. The duo likes to cook up a hyper-intellectual theorem. They could write textbooks. For spring, show notes pronounced the runway “an exploration of cycles of time. It’s about the meanings of symbology and familiarity; a focus on suggesting common themes or recognizable forms.” It went on.
Attempting to decipher their lofty language backstage before the show, in front of a board that included slipdresses, army jackets, track pants and 1930s-inspired suits, Peters broke it down into something simple: “We just wanted it to be cool.”
What’s always cool about Creatures of the Wind is its homespun sophistication and aura of personalization. The clothes are enhanced with dreamy details that always feel done by hand (and often are), such as the army twill trench with hand-hammered Mukesh pansy embroideries, a pair of white jeans with embroidered star patches, and a drop-shoulder top with colorful hand-embroidered flowers. The designers also hooked up with Spinelli Kilcollin on a great fine jewelry collaboration of chunky necklaces and geometric cuffs and earrings, and APL for slip-on sneakers. The collaborative accessories served to elevate (diamonds) and ground (trainers) the looks.
Quirky refinement is a defining characteristic of the label, but there were more moments than usual where the quotient was off. Part of it could be chalked up to styling, the ratted hair and fishnet stockings that suggested a bleary nostalgia. Gabier noted that the goal of the collection was to make familiar silhouettes feel new, but some of the more retro, Thirties-inspired pieces needed more of the now.